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ART “4” “2”-DAY  10 December
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DEATHS: 1685 PLATZER — 1928 MACKINTOSH — 1647 UCCELLO
BIRTH: 1867 ROUSSEL — BAPTISM: 1610 VAN OSTADE
^ Died on 10 December 1761: Johann Georg Platzer (or Plazer), Austrian painter and draftsman born on 25 (24?) June 1704.
— He came from a family of painters in South Tyrol, studying first with his stepfather Josef Anton Kessler [–1721] and then with his uncle Christoph Platzer, court painter in Passau. In 1724 he painted an altarpiece for the church of Saint Helena in Deutschnofen. Probably after 1726 he went to Vienna, where he enrolled at the Akademie der Bildenden Künste and became a friend of Franz Christoph Janneck. Perhaps because of a stroke that impeded his work, he returned to Saint Michael in Eppan by 1755.
     Platzer produced a great number of small paintings, mostly on copper. He was the most important master of the conversation piece in 18th-century Austria, and his cultivated embourgeoisé public was fascinated by the virtuoso manner, lively colors and innumerable details of his compositions. According to the principles of decorum, he chose his models and style to suit the subject-matter: for histories and allegories he took his models from antiquity, the Renaissance and Italian and Flemish Baroque art, as in Samson’s Revenge. In his genre scenes and especially his conversation pieces, influences of the French Rococo and the Netherlandish cabinet painters are evident, while in his scenes of artists’ studios, such as Sculptor’s Workshop, his academic knowledge is revealed. The repeated use of architectural motifs in his work is derived from northern Italian quadratura painting. Although his work is eclectic, it has a characteristic personal touch that distinguishes it from the comparable, though calmer and less detailed work of Janneck.
LINKS
The Pleasures of the Seasons: Autumn (main detail) (877x1188pix, 134kb)
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(1730, 38x55cm; 1354x2000pix, 318kb)
The Pleasures of the Seasons: Winter (main detail) (865x1230pix, 128kb)
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(1730, 38x55cm; 1363x2000pix, 276kb)
The Pleasures of the Seasons: Summer (main detail) (862x1218pix, 119kb)
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(1730, 38x55cm; 1359x2000pix, 268kb)
Latona Turning the Lycian Peasants into Frogs (1730, 21x30cm; 842x1166pix, 115kb)

^ Born on 10 December 1867: Ker~Xavier Roussel, French Nabi painter, printmaker, and decorative artist, who died on 06 June 1944 (D-Day). He was the brother-in-law of Edouard Vuillard. — {Etait-il un descendant de Guillaume “Cadet” Roussel [30 Apr 1743 – 26 Jan 1807]? Ah ! Ah ! Ah oui, vraiment? - En tout cas ce n'est pas lui, mais Benoit A. Côté qui, en 1996, a peint les 3 maisons de Cadet Roussel.}
— While still at the Lycée Condorcet in Paris, he met Édouard Vuillard (whose sister Marie he married in 1893), Maurice Denis and Paul Sérusier; once they had finished their studies, they all went together to the Académie Julian, where Pierre Bonnard, Georges Lacombe, Paul Ranson, and Félix Valloton were already enrolled. Dissatisfied with the teaching of William-Adolphe Bouguereau and Jules Lefèbvre, they left the Académie in 1890, two years after they had begun to meet together as the Nabis. Roussel took part in the exhibitions at the Café Volpini in 1889 and the Le Barc de Boutteville gallery in 1891. At that time his pictures applied the rules of Synthetism outlined by Sérusier — flat planes of repeated color encircled by dark lines forming a harmonious rhythm; a typical example of his oil paintings of this period is Ma Grand-mère (1888). Like the other Nabis, he did not restrict himself to easel painting but also produced murals, stained glass and lithographs: the color lithograph L'éducation du chien, which he contributed to the anthology Amours (1892-1898) published by the dealer Ambroise Vollard, was the first of several such projects in which he developed the Symbolist character of his work. The 12 lithographs he contributed to another Vollard publication, Album de Paysages (Paris), vividly expressed the pantheist vision of nature that was to characterize his later work.
LINKS
Mythological Scene (1903, 47x62cm; 575x754pix, 192kb)
Rural Festival (1913; 575x408pix, 140kb) — L'éducation du chien (33x19cm color lithograph; full size)
Paul Cézanne au Travail sur le Chemin des Lauves (1906 print, 1131x1054pix, 488kb) _ looks like a black-and-white photo.

^ Died on 10 December: 1928 Charles Rennie Mackintosh, Scottish Art Nouveau designer born on 07 June 1868.
— Born in Glasgow, the son of a police superintendent, Mackintosh is the most famous of the Glasgow Style designers and has become something of a cult figure of international importance. He studied at the Glasgow School of Art while being apprenticed to the architect John Hutchinson, transferring to the firm of Honeyman and Keppie in 1889. In 1891 a travelling scholarship enabled him to visit Italy, France and Belgium, and in 1902 he began to paint a series of mystical watercolors. Meanwhile his furniture designs were establishing a repertoire of forms which became the hallmarks of the Glasgow Style and his reputation as an architect was confirmed by his famous designs for Glasgow School of Art (1897-1909). In 1900 he married Margaret MacDonald, who collaborated with him closely and encouraged his painting. Although his work was highly acclaimed abroad, Glasgow proved increasingly restrictive, and in 1914 he left to concentrate on painting in watercolors. He lived in Chelsea until 1923 and thereafter in France.
LINKS
The Harvest Moon (1892) _ Mackintosh was known as a watercolorist as well as an architect and designer. Harvest Moon gives an idea of the mystery and lyricism that characterized the Glasgow style, and the connection to the land of faerie that was part of its inspiration.
The Scottish Musical Review (1896) _ Mackintosh's poster shows the angularity and geometry that distinguished the Glasgow style in poster art from its French counterparts, such as Toulouse-Lautrec. An elongated, possibly winged figure is framed by an abstract halo and supports birds and abstract flowers. The ambiguous subject of this decorative, linear design is typical of the Glasgow artists.
In Fairyland (1897, 37x18cm) — Fairies (1898) — The Wassail (1900, 32x68cm) — Part Seen, Part Imagined (1896) — The Descent of Night (1894)

^ Baptized as an infant on 10 December 1610: Adriaen van Ostade, Dutch painter, draftsman, and engraver who died on 27 April 1685.
— Van Ostade may have studied under the Dutch artist Frans Hals and later came under the influence of the great master Rembrandt; Ostade was probably the teacher of the genre painter Jan Steen. Ostade painted many small genre pictures, lively and vigorous and full of subtle effects of light and shade. His subject matter included tavern scenes, peasants drinking and smoking, itinerant musicians, village festivities, and quaint village characters. He also executed 50 etchings depicting peasant life. While his early works are generally filled with rowdy, bawdy characters, his works after around 1650 show more refined and respectable scenes.
— Adriaen van Ostade (Adriaen Hendricx) was born in Haarlem. His father, Jan Hendricx, came from Ostade near Eindhoven, and his sons, Adriaen and Isaac, adopted this name as painters. In 1627, Adriaen was a student of Frans Hals, and, in 1634 joined the Lukas Guild in Haarlem of which he was later the head, in 1647, 1661 and 1662.
     He was one of the most popular Dutch painters, specializing from the start in genre painting of peasant life. In his early period, A. van Ostade was under the influence of A. Brouwer, in the 1640s of Rembrandt. From about 1650 his paintings turned more and more towards Delft genre painting, the interiors became more pleasant, and open-air scenes were added.
— Adriaen van Ostade and his brother Isack van Ostade [bap. 02 Jun 1621 – >16 Oct 1649 bur.] were among the eight children of Jan Hendricx van Eyndhoven, probably a linen-weaver, and Janneke Hendriksen, both of whom had moved to Haarlem from the Eindhoven area.
     A. van Ostade may have been, concurrently with Adriaen Brouwer, a student of Frans Hals in Haarlem. Hals influenced him very little, whereas Brouwer, who was described as ‘known far and wide’ as early as 1627, had a decisive influence on the evolution of Adriaen van Ostade’s always idiosyncratic portrayal of peasant life. The first documentary mention of Adriaen van Ostade as a painter is in 1632. Most of his paintings are signed and dated, the earliest firmly dated example being the Peasants Playing Cards (1633). He was a member of the Haarlem Guild of Saint Luke by 1634 at the latest.
      In an active career that spanned more than 50 years, Adriaen became one of the most prolific Dutch artists of the 17th century. In his principal speciality, peasant and low-life genre painting, he enjoyed a leading position and considerable influence. The subjects of his single- and multi-figured compositions include, alongside the village fair (kermis) and other festivals, scenes of play and diversion both inside and outside the village inn, scenes of family life, domestic and agricultural work, and schools and various trades (cobbling, weaving, baking, barbering, market trading, peddling, alchemy, etc.). He situated his own work as a painter within the same humble, artisanal context in his several versions of The Painter’s Workshop. He also produced several single and group portraits, as well as a few sumptuous still-lifes. He died in Haarlem.
—      A. van Ostade had many students and followers, the most important among them were his younger brother, Isack,  Jan Steen, Cornelis Dusart, Michiel van Musscher, and Cornelis Pieterszoon Bega.
LINKS
Dancing CoupleLandscape with an Old Oak (1640)
Peasants in an Interior (The Skaters) (1650) — Peasants in an Interior (1661)
The Fishwife (1673) — The Merry Peasant (1640) — The Painter's Studio (1640)
The Pall-Mall Court (1677) — 59 Engravings at FAMSF

Drunkards in a Tavern (42x57cm) _ detail _ enlarged detail
De Drinker: Three boors drinking and smoking in a spirit house (29x23cm) _ This painting and its former pendant, A man and a woman drinking at a table, were for long regarded as two of the finest of Adriaen van Ostade. The pendant is dated 1661, placing the pair during the zenith of Ostade's career, at a time when his work combines the mature development of style and subject matter with the vivacity and charm of which he was at his best possessed. In the present painting this is reflected in the sympathy of interpretation, subtlety of palette and fineness of detail for which Ostade is so admired.
      Ostade was one of the foremost genre painters of seventeenth-century Holland, recorded as having started his career as a student of Frans Hals in Haarlem, concurrently with Adriaen Brouwer. It was from these two artists, and from Brouwer in particular, that Van Ostade first developed his themes of parties of smoking, drinking and dancing peasants in their village surroundings. He initially adopted a satirical, almost caricatured, manner, but from the 1640s onwards began to endow his low-life protagonists with increasing degrees of restraint and dignity, his palette becoming richer and his chiaroscuro stronger.
      Although such works are more prevalent from the 1640s, from relatively early in his career Van Ostade had painted scenes of tranquil domestic comfort (for example the Village Alehouse with Four Figures of 1635). In them, the action is less important than the depiction of a psychological state, and the setting gains in significance. In the course of the 1640s, however, Ostade increasingly began to explore that approach to the theme, thereby moving further away from Brouwer's influence towards a fully mature, personal style. His interiors became more spacious, flat-ceilinged and better furnished, whilst the figures and their costumes, as well as the furnishings and utensils attendant on peasant life, are shown in more detail, for example the Three Peasants at an Inn of 1647.
      Through the 1650s and by the date of the present work, scenes of excessive drinking and gambling became the exception rather than the rule. Ostade's peasants are mostly shown relishing the small pleasures permitted by their modest existence. This shift is accompanied by a change in the implicit meaning of the pictures: thus in place of, or alongside, the traditional satire on human frailty, the simplicity of peasant life is held up as a model or even idealized. In addition, his interiors continue to show an increasing emphasis on detail, whilst, as in the present work, the strong local coloring of the figures stands out powerfully from the tonal twilight of the interior setting.

^ Died on 10 December 1475: Paolo “Uccello” di Dono, Italian painter born in 1397. — [uccel di bosco?]
LINKS
Five Portraits (1450, 43x210cm) _ This painting, attributed to Paolo Uccello, portrays five famous men, Giotto (representing painting), Uccello (representing the principles of perspective and animal painting), Donatello (representing sculpture), Manetti (representing mathematics), and Brunelleschi (representing architecture). _ detail _ This detail is supposed to be a self-portrait of Uccello.
The Battle of San Romano [ Left _ Center _ Right _ Panel] _ The three paintings of the Battle of San Romano are universally attributed to Paolo Uccello. The three scenes are: Niccolò da Tolentino Leads the Florentine Troops, London, National Gallery; Bernardino della Ciarda Thrown Off His Horse, Florence, Uffizi; Micheletto da Cotignola Engages in Battle, Paris, Louvre. Together with the stories from the life of Noah these are undoubtedly Uccello's most famous works.
      In all three panels the battle scene is interpreted in terms of a chaotic mêlée of horsemen, lances and horses in a desperate struggle, portrayed through an endless series of superimposed and intersecting perspective planes. As in the stories from the life of Noah in Santa Maria Novella, here too the movement which should animate the scenes appears to be frozen, as it were, by the isolation of the individual details, all realistically portrayed. See, for instance, the elaborate heavy armour, the leather saddles, the gilded studs, the horses' shiny coats, and of course the splendid "mazzocchi', the huge multifaceted headgear that Uccello often included in his pictures due to the specific difficulty of painting it in proper perspective.
      The three panels commemorate the celebrated Battle of San Romano in which the Florentines, under the leadership of Niccolò da Tolentino, defeated the Sienese led by Bernardino della Ciarda. They were intended as decoration for the large hall on the ground floor of the Medici Palace, called Lorenzo's room.
      The three incidents from the Battle of San Romano shown are:
      Left: Niccolò da Tolentino Leads the Florentine Troops _ detail
      Center: Bernardino della Ciarda Thrown Off His Horse _ This is the central panel of the three paintings representing the battle won by Florence against Siena allied with Visconti, the ruling family of Milan. It took place on June 1st 1432 in San Romano, half way between Florence and Pisa. The picture shows the conclusive combat between the captains of the two armies: Niccolò da Tolentino unseating Bernardino della Ciarda.
      Uccello's obsession with displaying his mastery of perspective (such as the long white and red lances or the exceptional horses that have rolled over on the ground) and the dramatic nature of the clash between the knights combine with his almost magical story telling. This is underpinned by the use of unreal colors and light as if describing some fabulous tale of chivalrous adventure. _ detail 1 _ detail 2 _ Particularly lovely are the background landscapes, especially in this panel, with scenes of grape harvesting and hunting. _ detail 3
      Right : Micheletto da Cotignola Engages in Battle _ In this panel there is a formal subtext created by strong decorative elements, such as the tights of contrasting colors worm by the soldiers on the left, or the arrangement of the lances, which form a series of patterns and movements that echo the horses and their riders. As could be expected, foreshortening and perspective are devices favored by the artist. The landscape has been sacrificed to the action of the figures. _ detail

Died on a 10 December:

1925 Georges Jeaunin, French artist born in 1841.

1910 Seymour Joseph Guy, English US painter and printmaker born on 16 January 1824. — Unconscious of Danger (1865; 750x592pix, 115kb) — Dressing for the Rehearsal (1890) — Girl and Kitten (26x31cm)

1897 Benito Mercadé y Fábregas, Spanish painter.

1883 Richard “Dicky” Doyle, London illustrator, printmaker, and painter, born in September 1824, son of Irish-born John Doyle [1797 – 02 Jan 1868]. When Dicky was only 16 years old, he published the first of his Comic Histories, the Eglinton Tournament: Or, the Days of Chivalry Revived, a burlesque of medievalism, selected from among his rather more grotesque pen-and-ink juvenilia. The public success of these images assured Doyle of a ready demand for work throughout his career. In 1843 he joined the staff of Punch, but his graphic skills found little immediate outlet. At first Doyle contributed only peripheral elaborations—inventive headings, borders, initials and tail-pieces—possibly inspired by the Gothic Revival interest in medieval tracery and grotesquerie. Following the success of his Punch cover design in 1849, which was retained for over a hundred years, Doyle began the series Manners and Customs of ye Englyshe, in which, with a pared-down line nearly unshaded, he represented large gatherings. In A Cydere Cellare and Ye Commons the members of these masses are just differentiated, and modern life is quietly medievalized; the middle classes glance discreetly at other classes, their institutions and themselves. Although he was notoriously shy and often portrayed himself as a small, thin figure, eyes hidden under tousled hair, Doyle did not shrink from resigning from Punch when it opposed the papacy’s plans to establish a regular diocesan hierarchy in England in 1850.

1880 Theodor Leopold Weller, German artist born on 28 May 1802.

1859 (or 11 Dec) Alexandre Louise Marie Richard, French artist born on 25 (or 24) November 1782.

1823 Jacques François José Schwebach Desfontaines, French artist born on 19 March 1769.

^ 1763 George van der Mijn (or Myn), Dutch artist born in London in 1726, whose date of burial (15 Dec 1763) is better documented than his date of death. Like his brother Frans van der Mijn (or Myn) [1719 – 20 Aug 1783], he studied under their father Heroman van der Mijn [1684 – Nov 1741], after whose death he became a student of Frans. He moved from London to Amsterdam with Frans and remained there until his death. Little survives of George van der Mijn’s early work. His excellent portraits of Cornelis Ploos van Amstel and Elisabeth Troost may be early and may date from 1748, as was once thought, or could have been painted as late as 1758. The majority of his 15 or so remaining paintings date from 1757–1763. Besides individual portraits, he produced some of the best examples of the Dutch conversation piece of the 18th century, including two group portraits, both from 1763: The Hasselaer Family and The Van Sypesteyn Children. He also made a number of miniatures, pastels and drawings. In 1761, the year of his marriage, he painted the ceiling of an Amsterdam patrician’s house. George may be regarded as one of the best Dutch portrait painters of the 18th century. He excelled both his father and brother Frans in originality and even more so his other four painter siblings: Cornelia van der Mijn [1710–], Gerard van der Mijn [1706–], Andreas van der Mijn [1714–], and Robert van der Mijn [1724–].

1630 Orazio Riminaldi, Italian painter born on 05 September 1593 (1586?). He studied first under the modest Pisan painter Ranieri Borghetti and then under Aurelio Lomi [1556–1622]; no works from this first period survive. He then moved to Rome, where his admiration for Orazio Gentileschi, Domenichino, and Bartolomeo Manfredi suggests that he probably arrived there between 1610 and 1620. He was certainly there by the beginning of 1620, for in March of that year he was commissioned by Curzio Ceuli, Master of Works of Pisa Cathedral, to paint Samson Killing the Philistines for the apse of the Cathedral.


Born on a 10 December:


^ 1859 Peder Mark Mønsted, Danish painter who died in 1941. He studied at the Academy in Copenhagen and became one of the most accomplished Danish landscape painters at the end of the nineteenth century. He traveled widely in Italy, Switzerland, and France and exhibited his landscapes regularly at Charlottenborg. — LINKSCalm Waters (1908, 70x100cm) — The forest path (52x72cm) — In the outskirts of Cairo (1893, 40x55cm) — Athenian Ruins (1893 70x130cm) — Bollemosen (1899, 64x104cm) — Feeding The Calf (1931, 70x101cm) — Lindenborg Kro 1931, 41x62cm) — A Woodland Stream (1923, 89x134cm) — Waterlilies (1920 34x57cm) — A Boat Moored On A Quiet Lake (1919, 72x98cm) — On The Snowy Path (1918, 96x140cm) — Fishing Boats on the Water, Cap Martin (1907, 70x100cm) — Fishing on Lac Leman (1887, 92x69cm) — Unloading Stone from a Barge at Ouchy (1887) — Montagne Picota (1892, 16x22cm)

1847 Andrea Landini, Italian artist who died in 1912.

1815 Francesco Bergamini, Italian artist who died on 30 November 1883.

1807 Niels Simonsen, Danish artist who died on 11 December 1885.

^ 1805 Carl Ferdinand Sohn, German painter who died on 25 November 1867. — [He was the Sohn of his Mutter and his Vater] — He studied at the Akademie der Künste, Berlin, and the Kunstakademie, Düsseldorf, at both under Wilhelm von Schadow. He then went (1830–1831) to Italy where he adopted the works of the Venetians Titian, Veronese, and Palma Vecchio as his lasting models. These studies preceded his assumption, in 1832, of lifelong teaching duties at the Kunstakademie in Düsseldorf. With Rinaldo and Armida (1828), a scene showing the lovers from the verse epic Gerusalemme liberata of Torquato Tasso [11 Mar 1544 – 25 Apr 1595], Sohn impressed his contemporaries in Düsseldorf by introducing the idealistic and literary style established by Schadow and his followers. The brilliantly coloristic and realistically rendered work reveals Sohn’s talent for depicting dynamic life-sized figures, animated sensuality, and cogent gestures. — The students of Sohn included Wilhelm Busch, John W. Ehninger, Ludwig Knaus, Louis Kolitz, Wilhelm Trautschold, Benjamin Vautier, Richard Caton Woodville. — Tasso in the Insane Asylum (1839; 604x496pix, 66kb) by Delacroix.

1748 Michel Joseph Speckaert, Belgian artist who died on 17 September 1838.

1613 Isaack van Oosten, Flemish artist who died in 1661.

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